Michael Gissing
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Make a Qt file of the smoothcam shots and pop them on the track above the original.
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[Vadim Finkov] “sound quality of AC3 is just as good as Dolby E if not better”
You clearly don’t know about the difference in data rate between ac3 files & Dolby E.
I was at the digital broadcast conference in Jackson, Wyoming over 12 years ago when the rep from Dolby announced the development of Dolby E. He explained the reason for the development was to enable Dolby digital data to be embedded in a 48Khz PCM data stream which you could not do reliably with ac3.
As well as running FCP for online & grading I also run a sound studio so I can tell you I have enough experience of sound deliverables and formats on nearly 800 broadcast programs to tell you again that what you are trying to do is not a deliverable standard and not recommended by Dolby or Sony.
If you want to store your 5.1 mix with the HDCam tape, then burn the PCM files to a DVDRom and put it inside the tape box.
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Where does it appear blurry? If it is FCP then that is because the FCP monitoring is progressive and not high resolution.
Are you monitoring on an external monitor? If the final result is for broadcast from digi beta, then you need to maintain interlaced upper field and judge only on an external interlaced monitor via a card like Decklink, Kona or Matrox.
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Because ac3 is not designed to be embedded in a PCM data stream, Dolby developed Dolby E. This is the only signal (apart from mpeg2 multichannel) that can be recorded on tracks 3&4 of an HDCam.
So you need to send your uncompressed 5.1 mix files (not the ac3) to a facility with HDCam and a Dolby E encoder to restripe. Even if you managed to get the ac3 stream onto the HDCam, international deliverables do not accept this format, only Dolby E.
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SD PAL is upper field. If AE has produced a file with fields lower, then the settings are wrong.There is nothing wrong with having AE render with fields as long as they remain upper.
Because SD is interlaced it is best to do everything as interlaced upper field. Stay uncompressed. Avoid DV codec.
Sequence settings should be PAL SD Uncompressed upper field 720 x 576.(assuming you have anamorphic footage from the 35mm not letterbox, then tick the anamorphic box as well.
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A better way to trash prefs is to download Digital Rebellions Preference manager software.
https://www.digitalrebellion.com/pref_man.htm
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Motion jpeg is a codec and .mov is just a wrapper.
Exporting from FCP using quicktime conversion will create a motion jpeg .mov file if you select that codec. You could try renaming the file using the .mjpg extension if it still doesn’t work.
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What version of FCP6 do you have. I think that was a bug that came with the early versions of FCP6.
If you upgrade to 6.0.6, that is the latest version of 6.
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Is it a problem of having a long pre roll that backs over the break? In logging where the code breaks are, you need to allow for the pre roll.
In the device control settings you can shorten the pre roll. 3 seconds should be plenty for DV. Try 2. But you must allow for the tape to roll back that far prior to capture so if it rolls back over a code break it will not be able to locate and so it hangs.
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Please tell us what tape format/codec and how you are set up to capture.